OOOHhhh..... here's a recording that took me, er, I'd say an 1:30 to create. It's hard to work when you have that little nagging feeling in your head that you're being recorded. I call it 'performance anxiety', and I could almost hear shouts from the studio audience saying: "no! no! you're doing it wrong! don't you know how to draw a f*ing foot?!??!!" and so on...

Okay, this one is done from a photo. Heck, I would classify this as a photo-manipulation, given the technique.

I am using PPalette's "aggressive autosampling" mode -- it autosamples the colour in midstroke. I recently added a feature that would allow you to 'freeze' the sample buffer -- so that it would not sample new colours you just laid down. You can basically turn on or off whatever layers you want the autosampler to use, and then freeze the sample buffer, and then start painting on a new layer. You can even hide all the other layers so it appears as if you're etching through a layer of grime to reveal the painting underneath.

The brush I am using is simply an airbrush with a very flat profile -- the fadeoff of the brush edges is very sharp -- almost circular. Pressure is linked to the size of the brush, and pressure is inversely linked to the power of the brush.

In this manner, I can press very hard on the stylus over large areas of flat colour, and the brush will become very large, yet soft. I can use this on the primary block-in of the image. When I need to tighten up the paints, I press very lightly and move the brush slowly, and this way, I get a very small, but hard brush, and I can catch details like the cracks between the tiles and the collar of the dog, and define a very clear outline around the dog.

It takes a fair amount of skill to use this technique properly, and a lot of patience and time. Even though we are cheating by having PPalette select the colours for us, it's still necessary to pay close attention to where the tight details are, and go slowly and lightly over them. It also helps to pass brushstrokes along the direction of contours of shapes in the image -- so this is not a fire-and-forget mindless technique. However, it does not look like most photo-manipulations that simply smear colour around. It requires a human's touch and sense of judgement.

Another way is to use a randomised animbrush.
For exemple, you can use all the brushes of Evar and put them all in a random animbrush with random angle. (use the same pressure settings).
with the freehand dot tool, the rendering is nice.